Posts Tagged fps
Not too long ago I praised The Witcher for a plethora of things it did really well. The sequel’s not bad either, but its minimap is absolutely horrible. The main problem is that it rotates with the camera, and the lack of compass directions also exasperates the issue.
Rotating minimaps are great for following a linear path, which is why GPS devices use this design. The user hardly ever needs to worry about whether they’re driving South or South-East, but they need to accurately follow the generated route. Consequently, it’s a lot easier if the path is always facing the same direction as the car, i.e., if the arrow on the screen is pointing right, they need to make a right hand turn.
However, if the map doesn’t rotate, then driving South with an arrow pointing right actually means making a left-hand turn. To avoid this confusion and unnecessary work with mentally rotating the map, the view of GPS devices is synched to match that of the car.
FPS titles also tend to benefit from rotating minimaps. Their levels are often small or just linear, and it’s very helpful for the player to be synced with the minimap view. The reason for this is that split-second decisions often need to be made based on the immediate surroundings.
For example, if the player is following a team-mate turning right but there’s an enemy hiding just around the left corner, it’s beneficial to instantly know which direction to face in order to counter the ambush. Since FPS games also inherently don’t possess a floating camera, it’s that much more advantageous to be aware of what’s lurking beyond the player’s view as there’s no other way to peek around the scenery.
Static minimaps, on the other hand, are much more suitable for games with large areas that need to be traversed multiple times.
In these titles, it’s important to familiarize oneself with the layout of the land in order to travel through it efficiently. Goals are often described with compass directions in mind, and landmarks are used to aid in the building of a mental map for the overall area.
If the minimap constantly swings around, not only does it keep changing the direction north is pointing, but it also forces the player to digest a radically different topography each time they glance at the minimap. A static view is superior to this as it facilitates the parsing and memorization of an area’s layout. This in turn allows the player plot their own paths and comfortably maneauver through the game’s environments.
Of course some players are only used to one approach or the other, in which case why not simply include both options?
- Mass Effect Interface Fail – Krystian Majewski’s thorough drubbing of Mass Effect’s user interface (Part 1, Part 2, and Part 3). A must-read for anyone interested in making games.
- Virtual Economic Theory: How MMOs Really Work – A look at the evolution of game-economies in MMORPGs and the pro’s and con’s of various trade systems.
- Guiding The Player’s Eye – An overview of subtle cues in Half-Life 2 (and its episodes) that serve to grab the player’s attention without subverting user-control.
I was never a big fan of The Wheel of Time series, but I liked the actual game quite a bit.
The notable parts:
— The title largely revolves around the player’s armament of Ter’angreal, ancient artifacts that grant magical powers. They’re grouped together into numerous categories — offensive projectiles, homing attacks, shields, immobilizers, summoners, magic nullifiers, etc. — and encompass gameplay modifiers that are usually presented via inventory items.
Many of the Ter’angreal are also only used to solve in-level puzzles, while others are strictly limited to multiplayer.
— Many of the enemies have an annoying habit of instantly sidestepping incoming projectiles. It looks awkward, wastes precious ammo, and often forces the player to aim at the ground in order to cause splash damage.
Aside from this odd quirk, the enemies themselves are quite varied. They have drastically different amounts of health, fire numerous types of projectiles, can deflect or absorb the player’s attacks, and even possess special abilities such as teleportation.
— The vast amount of Ter’angreals makes it difficult to properly use them in fast-paced battles, but when the interface doesn’t get in the way, they work quite well.
Here’s an example:
I entered a small arena where I encountered a magic-wielding boss. I immediately threw up a magic-dissipating field, activating it just in time to dissolve a barrage of incoming projectiles.
As the field’s timer began to count down, I queued up a Reflect Ter’angreal and activated it when the field wore off. It batted back an approaching Soul Barb, a homing Ter’angreal that damages its target whenever it attempts to use any of its own weapons. The Soul Barb struck my foe, and I went on the offensive with a Decay.
Decay is useful for boss battles as it homes in and damages enemies over time, but it’s also quite slow. My opponent was able to bring up her own magic-nullifying shield before the projectile reached her, but since the dissipating fields work both ways, she was unable to counterattack.
I used to the time to retreat and heal up, and as her field was about to expire, I launched a Freeze. The projectile reached my opponent right after her shield went down, encasing her in a solid block of ice. I immediately threw out an Earth Tremor, an area-of-effect Ter’angreal that causes continuous damage, and started blasting away with other offensive spells. My immobile target screamed as the ice slowly melted, and victory was mine.
Of course at other times you round a corner only to be hit by 2 Fireballs and die instantly. It’s a flawed system that encourages quick-saving/loading, but when it works, it does a good job of making combat feel like a magical duel.
— Many of the Ter’angreal are also used exclusively for puzzles. They’re placed very deliberately so that there’s never much experimentation, and the puzzles themselves are usually straightforward, e.g., using a fire shield to walk across a furnace, but there’s a handful of more interesting ones as well.
One of my favourites revolves around getting across a vast chasm between a rampart and a fortress.
The rampart contains an opening that provides a view of the fortress, complete with a metal shield adorning one of its walls. The shield can be struck with a projectile, creating a loud sound that summons the guards. Once one of the sentries is visible, the player can use the Swap Places Ter’angreal to teleport into the fortress while jettisoning the enemy back into the isolated rampart.
— The overall level design is quite good with interesting environments that take advantage of 3D to loop in on themselves. Progression is still fairly linear, but with enough twists and turns (and optional passages) to feel fairly open while still guiding the player.
There’s some scripted sequences here as well, but they’re pretty sparse and clunky when compared to something like Half-Life.
— WoT contains a large amount of destructible objects, traps, climbable areas, lever/pressure plate/key based puzzles and a handful of scripted triggers that collapse floors, walls, etc. When combined with the aforementioned puzzle-Ter’angreals, these components make for pretty interactive levels that help breathe life into the world.
As an interesting side note, Balefire, the BFG of WoT, can disintegrate various props that are not part of the architecture. These objects do not regularly react to weapon use, imbuing Balefire with an added sense of power.
— Shadar Logoth is a destroyed city haunted by a deranged evil. It’s notable for its unique enemies that attack the player and his foes, as well as a monstrous boss called Legion. Its main attraction, however, is the Mashadar fog.
The first time I played the game, I started anxiously looking around when I heard some soft hissing. I couldn’t spot anything coming down the hallway facing me, so I decided to hunker down and wait in ambush in case an enemy appeared.
That’s when the screen became a white haze and my character started screaming in pain.
I scrambled around, desperately firing off Ter’angreal and trying to get away from whatever was hurting me. That’s when I realized what was happening: the puffy mists I passed earlier on weren’t just an ambient decoration, they were a vicious threat!
The ethereal fog snaked out of its hole and coiled around me, mindlessly following my character like harmless prey. My panicked counterattack actually hit the fog, forcing it to retreat, but there was no way to actually kill it. Soon the hissing filled the air, and I ran as the fog followed.
— Shador Logoth ends in an interesting mission that takes place in a large arena. The level is filled with numerous Ter’angreal and a never-ending onslaught of enemies, and its main goal is simply to survive until daybreak.
The main character is joined by a handful of NPCs, and although the powerups don’t seem to respawn (requiring a lot more exploration than in a typical Alamo standoff), the gameplay is similar to current-day multiplayer modes such as Gears of War 2’s Horde.
— Following the brutal assault on the White Tower, the player is tasked with recovering her arsenal of Ter’angreal and retrieving a special artifact in the citadel’s vaults.
The mission makes sense within the narrative as well as the gameplay, and provides a nice change of pace from the intense battles that preceded it. The level lacks enemies of any kind — except for an end-boss — and is filled with traps and puzzles that take advantage of various Ter’angreal such as Seeker and Levitate.
— The Ways are a series of stone walkways floating in a dark void that serve as shortcuts throughout the land. In one of the levels, the player character is forced to traverse them in order to pursue the antagonist. In the process, she encounters the Machin Shin.
Staying within the Ways for an extended period of time summons this infinite wall of ghostly heads that scream and whisper as they approach. It’s a very striking event, and one of the most memorable parts of the game.
If the “Black Wind” envelops the player character, the small amount of lighting in the level — including the Light Sphere Ter’angreal — is subdued as she is slowly killed.
The Ways are also used as a clever framing device. The player must periodically exit the ways to avoid the Machin Shin, each time facing a new challenge. These mini-levels force the player to find a way to re-enter the gateway, or simply survive long enough for the the Machin Shin to recede.
— The second last level is another Alamo standoff, but this time the player is forced to protect injured NPCs. An interesting twist here is that the map is filled with portculli that the player can control, effectively funneling the enemies while setting up traps.
A neat touch is a lever that opens up a floor grate above a pool of acid, and a Whirlwind Ter’angreal located just beside it. This allows the player to toss in various enemies while staying out of harm’s way.
— The audio in WoT definitely stands the test of time. The majority of the sound effects are very fitting, and the unique soundtrack (here’s a taste) does a great job of enhancing the atmosphere.
Jedi Knight came out just a year after the original Quake, and was already showing its age upon release. Its development team was wise enough to include support for hardware acceleration and mouse-look controls (complete with a neat if archaic calibration of the axes that allowed for some very sensitive camera movement), but the low- poly count was much harder to mask.
Jedi Knight still received very positive reviews, though, and rightfully so. It wasn’t perfect, and hasn’t aged particularly well, but I had a blast with it.
Here are some of the points that stuck out upon replaying it:
— The level design in Jedi Knight is fantastic, and probably its biggest strength. Of course level design was a bit of a different beast back then: areas tended to be much larger with fewer scripted events, the player had an inventory of keys and other usable items that facilitated environmental traversal, platforming puzzles were quite common (although usually disliked), movement was much, much quicker, etc.
Within that framework, though, the levels were a treat.
Despite the game’s low-poly count, its geometry was quite complex and varied. Textures were often repeated, but new ones trickled in periodically and every map had its own unique motif. The player was also constantly operating large-scale machinery that dynamically changed the landscape.
It all made for a nice combination of action, exploration and some occasional head-scratching. The only complaint I had with the levels were the large, industrial looking doors that were virtually indistinguishable from walls. Since these had to be opened with a button press, there were too many instances where the player could easily get stuck simply due to dodgy visuals.
— In-between level cinematics consisted of live-action actors superimposed over CG backdrops. They were rather silly and pretty low-budget, but did a decent job of conveying the story while showcasing certain visuals that were not possible to render within the game engine.
— The player was able to carry 10 weapons at any one time, and many of them shared the same ammo source. The limited ammo made becoming a Jedi and obtaining a lightsaber all the more rewarding. Visually speaking the lightsaber wasn’t anything fantastic, but it had unlimited power and the added advantage of lighting up dark areas and deflecting smaller enemy shots.
— Jedi powers were earned as the player progressed through the game, and they could be focused on neutral abilities, the light path, or the dark side. The powers themselves were a nice addition to both the singleplayer and the multiplayer, and were sometimes necessary to progress through a level (or at least take a short cut).
Force Pull was a particularly fun one as it allowed you to snatch weapons out of the enemies’ hands or grab healing items from far away.
— All the enemies responded to basic in-world physics, even after death, which made for some cool effects like a dead body sliding along the current of a pipeline.
— A lot of the audio was taken straight from the Star Wars movies, including the iconic sound effects and the famous scores by John Williams. These greatly enhanced the atmosphere and helped Jedi Knight stand out from other FPS titles of the era.
— The way the game’s secret rooms were placed was quite clever as they followed a pattern that went against the common funneling/guiding techniques of level design, e.g., a small nook embedded into the wall just above the entrance to a room was very easy to miss if the player ran right in without looking up and behind.
Enemies were often utilized to help the player spot these locations as they would often be placed in seemingly inaccessible locations, but with enough sleuthing, the player could always discover a way to reach his foes. A tally at the end of each level also informed the player as to whether he missed any secrets.
The impetus to discover the secret areas was very good as well. Not only did these locations often contain health, armour and ammo, but finding all the secrets in a level rewarded the player with extra force powers.
Jedi Knight is available for cheap on Steam, although everyone should keep in mind that it’s a very lazy port/re-release. None of the GUI elements have been updated for higher resolutions, the title screen and in-game cinematics must be viewed in a windowed mode, and the game doesn’t come with its original music. There’s a fix for that, but make sure to check out the forums first to get a better idea if it’s worth your money.
A while ago I was reading up on Starblade, one of the first commercial polygon-based games. What really struck me about the game was just how smooth it was compared to its spiritual successor, Starfox (granted the above links are YouTube videos that don’t accurately reflect framerates, but the differences are still quite noticeable).
It’s an extreme case, but one that nicely demonstrates the importance of rendering speeds.
Of course no one ever complains about games being too smooth, but the debate of 30fps vs. 60fps continues to pop up. What’s more, the 60fps side keeps losing ground, often to the argument that humans can’t really detect more than 30 frames in a single second.
And that is completely untrue.
It’s an inherently flawed statement as humans are not digital machines. The human brain is always on, always receiving input. Light hits our eyes as a wave, and the information it carries is almost instantly transmitted to the Visual Cortex. The brain analyzes this data, focusing on changes brought on by motion and fluctuations in intensity. Displacement is interpolated via motion blur and identical input is discarded to avoid extraneous processing.
The “decoded” image is further analyzed by various parts of the brain, but the overall process — as complex as it is — is quite fast and versatile. Much faster than 30fps. Faster than 60fps, in fact.
So where does the myth of 30fps come from? Well, film and TV for the most part, but the framerates of those media are not analogous to those of videogames. Others have written extensively about the topic, so I won’t go too deep into it. What I’d like to talk about, though, is why high framerates are important to games.
As a preface, different titles obviously have different requirements, and some suffer more from a low FPS than others. Also, the reasons for Insomniac’s decision to move away from their 60fps standard were completely understandable, if a little painful to accept.
With that said, here’s why I think high framerates are important:
The framerate of a game is usually directly tied to the processing of its logic. As a result, action games that run at 30fps cannot have the same granularity of movement as those that run at 60fps. This might not matter much for turn-based strategy titles, but it makes an awful lot of shmups technically impossible to do at lower framerates.
2). Input Lag
Games are inherently an interactive medium, and as such the response times for input need to be virtually instant. On the hardware side this is rarely an issue, but a stuttering framerate can reduce the response times and greatly detract from the overall experience (especially in “twitch” titles).
30fps isn’t bad, but what most people fail to realize is that it’s often the “ceiling” measurement, i.e., the best case scenario. Unlike TV and film, games are dynamic, and the processing required to render any given scene can fluctuate quite significantly. As a result, 30fps games actually tend to run at a rate of 20-30fps. These sort of inconsistencies can be very difficult to avoid, but they’re much less noticeable with higher benchmarks.
4). Motion Blur
Motion blur is the biggest reason TV and film get away with smaller framerates. The phenomenon of motion blur relies on the human brain’s ability to stitch together a series of blurred images into a single, smooth animation. Until fairly recently, games had absolutely no motion blurring, and even these days it doesn’t have quite the same effect. The reason for this is that post-process blurring is not always accurate, and in many cases purposely exaggerated to create a distinctive visual effect.
To properly accommodate for all these factors, a high framerate is a must. And when it’s there, it creates a certain synchronization between the player and the game; a smooth flow that more developers should strive to achieve.